The Don Felder Site felderfans.com

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Heavy Metal sounds like a fun song to play. Does this resurgence in its popularity mean we’ll be seeing you out playing it live more often?

I have been playing that song in my solo show for over a year now. I used to hear the fans at Eagles concerts yell it out and thought people might like to hear it. It goes over very well.

Were you aware at the time you wrote the song [...Heavy Metal] which sequences in the original film would accompany it and did this have an effect on your composing it?

I wrote this song based on the title opening footage. There is a Corvette flying through space and an explosion in the end of the scene. The lyrics follow the opening footage. I had no idea where they would use the song but thought that the opening set up the entire film very well.

Do you remember which guitar model and effects you used laying down the original recording 28 years ago?

I used a 59 Les Paul with a Fender tweed deluxe amp. I also had an old echoplex and a boss chorus unit in line.

What was your mixing secret in order to get that “spacey” sound on the album track?

We recorded and mixed the track at Westlake recording studios in Hollywood. Michael Jackson was recording with Quincy Jones in the studio next door. We used some of the echo units (EMT’s) that they had brought in for their session.

How do you best achieve this unique sound playing the song live?

I use very close to the same equipment that I used on the record. It’s pretty easy to recreate the sound and effect.

Would you be open to making the sheet music or guitar tabs available to guitar players over the internet?

I prefer not to release these over the internet as they are controlled by my publishing company which is distributed by Warner Brothers Music. They are copyrighted and can not be distributed over the internet that way.

Jeff asks: More than 40 years ago, I played in a rock ‘n roll band. I played a Fender bass, but my first love was definitely rhythm guitar. I would like to take up the guitar again, and would appreciate your recommendation as to what guitar I might select. My wife’s last name is Taylor, so I may be partial to that brand.

As for a guitar suggestion I can only say that I use Taylor acoustic guitars in my show, in my home and in the studio. They make a great product and you won’t be disappointed.

Phil asks: I just love the song Hotel California since it came out. Since the first time I heard it and seen the video, I wanted to be like Mr.Felder. I wanted a doubleneck so bad but could never afford one. Well in June of 06 I got cancer (Hodgkins Lymphoma stage 4) and my mother told me that if I beat it, she would buy me one, so I beat it. I got a Epiphone (Cherry). Now I can play it like my hero. My question is this. My Epiphone has a single cord input, and I noticed that Mr. Felder’s has two. I know he has a Gibson. I’ve seen doubleneck Gibsons before and they don’t have two. Does he have them specially made? Thank you. A huge Don Felder fan, Phil V.

Phil, the first double neck I used I personally drilled another hole in it to add a second output jack. Then I rewired it so that one neck goes out one output and the other goes out the second. The output changes with the neck selector switch. I run the 12 string neck into a echo unit and a leslie and the 6 string neck into my pedal board and then into a RI Fender deluxe amp.Congratulations on beating Hodgkins Lymphoma. God bless you and good luck.

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Do you regularly practice playing pedal steel, mandolin and/or banjo?

I play pedal steel now and then. I break it out and work on it for several days before I have to use it on a session. I don’t play it as a regular part of my daily routine. The same for mandolin.

H. Hodges asks, “What kind of picks do you use?”

I use Herco gold picks (the scratchy side) for electric and Fender medium picks for acoustic.

Don, many Felder fans searching the site want to know what your amp/effects are. What are they?

I used to use a echoplex (tape echo) and a Boss stereo chorus. Today I have a pedalboard that has been custom built here in L.A. which incoporates several two Boss echo pedals, a Boss chorus, a wah-wah, an overdrive pedal and a wireless rig.

If you were to author your own guitar instruction book, how would the back cover read?

I guess I’ll have to write that just before my first instruction book is published! Don’t know when that will be right now.

Can you give us a sneak peek as to some of the styles you’ve got planned for your upcoming CD?

More Felder music. Not sure how to stylize it or what you’d call it…..just more of my music.

What musical item would you give a loved-one this Christmas and why?

That would depend on the person. I’d inquire as to what sounds they like. How much time they have to play or listen. I’d suit the musical item to that person’s likes and needs. If they always wanted to play an instrument, I’d give them that instrument. If they wanted a new ipod, then I’d give them that. A gift should be very personal and aimed at the individual person’s wants, needs and likes.

David F. wants to know: Have you ever used a compressor/sustainer pedal? If so, why would you use one and what impact do they have on guitar tone. I am a guitar player and have fiddled with them, but never really “got it.”

I have never used a compressor or sustainer pedal on record. I’ve tried several times to find a way to use them but have always walked away disappointed with the results. The only people I know who use[d] them are Lowell George and Bonnie Raitt to get that long clean sustain for slide. Lowell would use two 1176 limiters in succession before the amp. I think Bonnie learned it from Lowell.

Some of the tones you have used over the years with the Eagles seem like they might have been generated with a Mesa/Boogie amp. Is there any truth to that, or have your amps been modified to have similar overdrive functionality when you wanted it?

I have 2 Mesa Boogie amps but never use them. I’ve had them since the 70’s when they first came out but found them too loud and not a TRUE tone to my ear. I have modified a few amps over the years but always go back to finding a great sounding amp that works for a certain guitar sound (Strat, Gretsch, Gibson etc.) and setting the amp for that guitar. It’s nearly impossible for an amp to deliver all the different tones from so many types of guitars and pickups well. I find it best to find a great sounding amp that doesn’t drive you out of the room with volume and find a tone on it that will work with a certain guitar. I you don’t find anything great MOVE ON!

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Mike asks, “What are your favorite pickups for a Fender stratocaster?”

I either hand wire them myself at the custom shop at Seymour Duncan or have MJ, the head of the custom shop, make them for me.

From Jennifer: What’s your favorite color guitar?

I don’t really have a favorite color. I love beautiful wood but paint jobs are cool, too.

I’m a fellow guitar player and I’d just like to say I LOVE your melody lines in every song you do. They feel/sound fresh and they’re very inspiring. My question involves the classical guitar you used during the “Hell Freezes Over” tour and the song “Hotel California.” I’m curious to know the make of the guitar and what strings you used for it. If you recommend any brand of strings for a classical, that would be great help too. Thank you, Sarah V.

Sarah, it was a Takamine with CP-132 SC Nylon strings. As far as strings for a classical go, I’d recommend SAVAREZ.

What gauge of stings do you use for an electric and acoustic guitar?

I use Ernie Ball Slinkys (10’s) on my stardard tuning electrics and Ernie Ball (11’s) on my E-flat or slide-tuned guitars.

You specifically mention your solo in the “Sad Cafe” as a personal fav…I too love that piece of music and can still remember how THRILLED I was when I first learned to play it! What set up did you use on that song to get such a beautiful tone and feel? Thanks, Bill M.

It was my 1964 D-35 Martin with a U87 microphone.

John dropped us a mail asking how you got the cool sax sound (distortion and compression) on the lead solo to “One of These Nights?”

I just plugged in and turned everything to 10. We put two limiters (side-chain) on the mic in the studio.

Mark wants to know whether or not you modified your Tweed Deluxe with different tubes or speakers.

No, it’s just a stock Fender tweed deluxe.

Ken C. asks, “What specific pedals do you use for the effects on One of These Nights and Hotel California?”

For “Hotel” on stage I use a Boss stereo chorus, Boss echo and an OCD overdrive pedal on the six string neck. I use a boss echo and a leslie for the 12 string neck. The guitar is custom-wired with two output jacks so that when I switch necks it switches outputs to different amps.

Hello from Spain. I have a guitar from a customer who acquired it in Florida at anticuary shop. She was told the guitar at one time belonged to Don Felder. I’ve attached a photo. Can you validate or not? Thanks.

Sorry, looks like your customer was fooled. I have NEVER owned a blonde Gibson custom in my life!

Daniel was wondering how you set your delay pedals. “You mentioned you use two delays live. What settings do you use?”

I always set the slap delay times to either 1/4 notes or some meter that is in time with the song. For Victim Of Love I set it to be a 1/4 Triplet. That way the echo is in time with the song and not fighting it.

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Brian asks: I’m working on recording a cover of All of You just for a hobby project since it’s my favorite song from Mr. Felder. I’ve seen that some answers are given for Takin’ a Ride but was just curious if there are any other tidbits of info on how the guitars were recorded on All of You?

Brian, the basic track and was recorded in L.A. at Westlake studios. All the overdubs were done in Miami at Criteria Studios while I was down there working on a Bee Gees record. One guitar, one amp, one or two pedals, one mic. Simple.

Items in Don’s set-up that he absolutely can’t do without

• Gibson Les Paul
• Fender Strat with custom pickups and wiring
• Fender black face Deluxe or Tweed amp
• Chorus
• Echo unit
• Herco custom picks

Steve let us know: I just posted the Eagles’ Good Day in Hell online as an example of a screaming slide solo, and added “standard tuning too”. Was I wrong?

Yes, Good Day In Hell was in “STANDARD” tuning.

From Jeremy in Texas: I am a fan of Don’s guitar and steel playing. I currently play an MSA Millineum pedal steel. I think he used a Sho-Bud in the 70’s and I just want to verify that, and what amps used to get that great sound.

Jeremy, I used a Sho-Bud double neck and ran it through a Roland amp with one 15-inch JBL speaker.

I recall your use of an acoustic 12-string to compose “Hotel California” for the Eagles. Have you played Breedlove or Guild 12 strings (ie. 212 with Rosewood top?) Do you ever play acoustic 12-strings with just external tube mikes – for added warmth? Bruce T., Canada

Yes, I use acoustic 12-strings. Hotel California was recorded on a Martin 12 string with a pickup in it. The pickup was run through a leslie cabinet and recorded in stereo. The acoustic was recorded on another track and placed in the center of the mix.

I’m a huge fan. You are a great guitarist. Do you remember what Gretsch you used for Desperado and Wasted Time on the 1994 Hell Freezes Over DVD? It was black. I know you used a White Falcon for two songs but I can’t make out what the black one is. Thanks, Tony

It was a 1959 orange Gretsch “Chet Atkins” that I had refinished black. I loved the sound but hated the color.

I’m a lifetime Felder fan, and also a guitarist. I love the big guitar tone on ‘Already Gone’. What was the guitar, amp, and whatever else used to achieve that tone? Thanks, Phil P.

If I recall correctly, the “big guitar tone” on Already Gone was a Les Paul Special and a black face Fender Deluxe amp with a Vox speaker.

Austin wrote asking what pickups Don uses in his Les Pauls. “Does he use Seymour Duncan’s like in the Strats or something different?”

I use custom-wrapped Seymour Duncan pick ups in my new Les Pauls that are wrapped to my specs to equal my old Les Paul outputs.

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I was wondering how the sustain at the very end of “Visions” was achieved. The notes go on and on and it sounds like they are faded out. Were any effects used to get the notes to sustain for that long? Or was it a studio effect? What guitar(s) did you use on that track? Thanks, Manny

Manny, the sustain on the end of Visions is me sitting very near the amp in the studio and using NATURAL feedback. No pedal or gain boost, just guitar pickups feeding back into themselves.

On the subject of acoustic guitars, Dave asked, “Don, I know you are a fan of Taylor Guitars (as am I), so what do you think about the Taylor T5 Hybrid Acoustic Electric? I have heard that while people love the playability, the various tone options it offers via the 5-way Taylor pickup system are a real compromise. Have you had any experience with the guitar?”

And Duke wanted to know, “What brand/model of acoustic guitar does Don play the most now? I may have read somewhere that he is playing a Collings. I am contemplating buying one myself. Thanks!”

I love Taylor acoustic guitars and even have several electrics that I use in my studio. I have not had the opportunity to play with the Hybrid models yet but I would expect them to be as good as the rest of the Taylor line.

I play mostly the Taylors (model 614 CE) on stage now. They sound the best I’ve heard on stage and in the house for live shows. I have three Collings acoustic guitars and play them on recordings in the studio. They are very well balanced and easy to record. I love the overall tone and feel of these acoustics and they fit very nicely in some tracks. I don’t carry them on the road as I don’t want to destroy the integrity of their acoustics by cutting a pickup control section into the body.

In my opinion it’s best to let great acoustic instruments remain just that and not try to make them electric.

Got a guitar question for Don? E-mail us.